forbear referring, however, to the “ravishing division” of his consummate _arpeggios_, forming a finely regulated shower of notes, rich, round, and most distinct, although wrought out by such slight undulations of the bow, as to leave in something like a puzzle our notions of cause and consequence. To suit the wide range of effects which his fancy sometimes dictated, it appears (another marvel!) that he subjected his violin to some kind of _alterative_ process; for which purpose he would open it (to use his own expression) like an oyster! The manners and conversation of this young artist, at the time when he was exciting attention in England, bore an impress of genius which it was impossible to mistake; and his occasional sallies of enthusiasm served to impart an increased interest to the abiding modesty which tempered and dignified his character. In describing the state of his own mind, under the immediate domination of musical ideas, he pictured it under the forcible figure of an alternate heaven and hell; while he would speak of the object and intention of his playing as being to _raise a curtain_, for the admission of those around him, as participants in the mysteries open to himself. In his habits, he was very temperate—wisely avoiding to wear out, by artificial excitements, the spontaneous ardour of his eminently vital temperament. All the ordinary arts and intrigues by which it is so common, and is sometimes thought so necessary, for men to seek professional advancement, seemed completely alien to the nature of this child of the north. In person, he was tall, with a spare but muscular figure, light hair, a pale countenance, and a quick, restless eye, which became extremely animated whilst he was in the act of playing. When I add that he entertained an invincible antipathy to _cats_—exhibiting unequivocal signs of distress whenever one of those sleek and sly animals was discovered in the social circle—I shall have furnished all the information I am able to give (his latter career being unknown to me) concerning a man well entitled to commemoration. * * * * * Before concluding this chapter, a few words of record are due to the two sons of one of the most gifted musicians of the present day. I allude to the associate brothers LABITSKY, who, after a training in the Musical Conservatory at Prague, and subsequent studies prosecuted at Leipsig, have become candidates for public favour in England, where (for the present, at least) they appear to be settled. Their first appeal to notice in this country took place at Her Majesty’s Theatre, during the progress of the late Grand National Concerts. Their style is said to be characterized by firmness and evenness in the bowing, with a correspondent fulness and purity of intonation. CHAPTER VI. THE ENGLISH SCHOOL. ... a _crescent_; and my auguring hope Says it will come to the full.—SHAKSPEARE.